2021

I – in/finito                         
Katinka Bock, Bernhard Cella, Jiří Valoch
Curated by Fiona Liewehr in cooperation with Jana Písaříková
and Ondřej Chrobák

Opening:
November 18, 6 p.m - 9 p.m.

Duration:
November 19, 2021 – February 20, 2022

Opening hours:
Wed-Sat. 12 noon – 6 p.m. and by appointment (+43 680 50 62 133)


This I – in/finito exhibition brings together three artistic positions from different generations and countries that reflect on an expanded concept of space through their art. Spatial perception is, of course, not limited to purely Euclidean, geometric aspects, but constitutes itself through phenomena such as time, historical localization, action, social participation, and interaction, as well. Space forms where we develop situations, and the importance of individual objects is eclipsed by the relationships between them, the meaning of which is rendered in ever changing ways of subjective processing. The artists all understand language to be not just a means of communication, but a key element in the process of forming space which, through a free play of associations, fosters reflection on a concept of space that develops athwart visible reality.

In her works, Paris-based German sculptor Katinka Bock explores materiality and processuality in the context of history and architecture. In his concrete poetry, Czech avant-garde artist Jiří Valoch probes the interaction of language and space; it can however also be read against the historical background of the geopolitical division of Europe into a Western and Eastern sphere of influence. Austrian conceptual artist Bernhard Cella is interested in the institutional framework conditions under which publications — in themselves highly informed objects — can be used as a raw material for art.

The three artists were invited to engage directly with the architectural setting and historical background of the Franz Josefs Kai 3 exhibition space, to embark on a playful, experimental dialog of references to the puzzling subject that was previously unknown to them. This resulted in a poetic discourse and lines of thought that not only brought into relief the form and content of each individual work, but also, quite surprisingly, led to the realization of a shared language, one that evokes reflection on existential questions pertaining to the self and its relation to the (in)finiteness of lived and experienced space. I – in/finito.
    
Katinka Bock was born in 1976 in Frankfurt am Main, Germany. Over the past twenty years, she has developed a sculptural practice that is closely tied to notions of space, time, material, and processuality, while at the same time drawing on the processual traditions of 1960s art.
Her art touches on themes such as the history inscribed in the materials she uses most often, which include clay, wood, fabric, ceramics, stone, and bronze, or the processes of tranformation they undergo, either naturally over time or due to the calculated use of elemental forces such as water, light, or fire. At the same time, she explores propositions articulated by contextual art, expanding them to allow for sensually rich sculptural forms.
Bock graduated from Kunsthochschule in Berlin und an der Ecole Nationale des Beaux-Arts in Lyon. She has been featured in solo exhibitions at Kestnergesellschaft Hannover (2020), Lafayette Anticipation, Paris; Centre Pompidou, Paris, (2019); Kunst Museum Winterthur; MUDAM Luxemburg, IAC; Villeurbanne/Rhône-Alpes (2018); Henry Art Gallery; Seattle, USA; MAMCO in Geneva (2014); Culturgest, Lisbon, Portugal (2012); and Kunstmuseum Stuttgart (2010). Katinka Bock lives in Paris.

Bernhard Cella (born in 1969 in Salzburg, Austria) is an artist, curator, and publisher. In his work, he has repeatedly explored the theme of publishing and the negotiation of art and language in the highly specific space of the book. An enterprise as a work of art, his long-term project “Salon für Kunstbuch” (“Art Book Salon”) is exemplary of his epistemological and publishing practice, which brings together performative settings, exhibitions, and discursive formats and explores the frameworks in which artists’ books are conceived, produced, and distributed. His “Salon für Kunstbuch” archive currently comprises around 30,000 titles from all artistic disciplines, and as such, it is unique in Europe. He studied at the Academy of Fine Arts Vienna under Erich Wonder, at the University of Fine Arts Hamburg under Franz E. Walther. His multimedia works were most recently shown at Warehouse 421, Abu Dhabi; the MMAG Foundation, Amman; CIC Cairo (2020); Beirut Art Center (2019); Museum Santa Monica, Barcelona (2015); Casa Bosques, Guadalajara; Kiesler Foundation, Vienna; Hamburger Kunstverein (2014); MAK, Vienna (2013); Belvedere 21, Vienna (2011);

Jiří Valoch (born in 1946 in Brno, Czechoslovakia, now Czech Republic) is an art historian, curator, artist, and poet. From 1965 to 1970, Valoch studied Czech and German studies as well as aesthetics at the arts faculty of Masaryk University, in Brno.  From 1963, he began creating concrete as well as non-semantic visual poetry. Between 1967 and 1978, he realized minimalist interventions, along with their photographic documentation, actions, and photo texts. Since the mid-1960s, he has also been active as a theoretician and art critic. In 1968, he organized one of the first exhibitions of computer art in Brno. Since that time, he has been producing artist’s books with non-verbal cut-out, optical, and rhythmic works. From 1968 to 1972, he was a member of Klub konkretistů (Concretists Club). From 1972 to 2001, he served as a curator at the Brno House of Arts (Dům umění města Brna) and was involved in the preparation of exhibitions by Czech artists (V. Boštík, Milan Knížák, Vladimír Boudník, J. Kolář, B. Kolářová, A. Šimotová, L. Novák), after 1990 of international artists, as well (R. P. Lahnse, G. Graser, R. Mieldsam, R. Barry). Jiří Valoch lives in Brno.
 
 

ausstellungsansichten: @ christoph wimmer ruelland
ausstellungsansichten: @ christoph wimmer ruelland




ANDERE BRAUCHEN IHREN SITZPLATZ VIELLEICHT NOTWENDIGER
Eine Ausstellung der Industriedesign Studierenden der Universität für angewandte Kunst Wien, Klasse Stefan Diez

21.05.2021 bis Anfang September 2021
Mittwoch bis Samstag, 15:00 - 19:00
Galerie FRANZ JOSEFS KAI 3

Working with the things that no one else can use anymore: In the exhibition Please offer your seat to anyone in need, chairs that students of the Industrial Design class of the University of Applied Arts Vienna have created from broken pieces of furniture and discarded objects are presented in the gallery FRANZ JOSEFS KAI 3. What otherwise would have ended up in the trash has been revived, reinterpreted, recombined and has thus become part of a commodity again. The proceeds of the auction will be donated to the Ute Bock refugee project.

,,All creatures with bottoms / no wings / sit. / They need to sit / love to sit / have to sit / must sit.”, writes the Chinese poet Lü Yue. Chairs are objects we often engage with, they serve a function carrying us, at the same time meet our aesthetic desires. When they no longer fulfill our expectations, they are given away, left on the street or thrown in the trash. What happens if instead of declaring them useless, you ask yourself what potential could they have? How can the seemingly worthless objects be broken down into individual parts and recombined in such a way that they become desirable again? The students of the Industrial Design class at the University of Applied Arts Vienna have set out in teams to search for the old, the broken or the no longer fashionable. In short: the unwanted objects. A new chair was to be created from these discarded pieces. These new chairs will then be auctioned off and the proceeds donated.

For this purpose, the students peeked into dumpsters, scrolled through the endless listings on Willhaben.at and searched the streets of Vienna for potential materials. What seemed relevant to them were not only chairs, but also things that could become part of a chair. Benches and tram seats – worn, bent, with torn upholstery or simply ugly to look at, also an ironing board from a past decade, a satellite dish that is no longer receiving a signal, a piece of bulky metal fencing, a shopping trolley or a cable drum. The objects were then revived as material, understood as building blocks and reinterpreted for something new. They were welded, bent, cut, glued, sanded, drilled, bound, sewn, stacked. Some only minimally altered, only expanded, others modified in such a way that the original was hardly recognizable anymore.

Working with the old, the discarded, means entering into dialogue with what was before. In this project, the students‘ work did not begin with a blank piece of paper, as usually the case. Rather, it was sculptural, meaning that it had to start out of an already defined material about to find a new form. The process was circular: if material was still missing somewhere, the search began again and the new material in turn led to new ideas.

The result of thirty-five chairs can be seen from the 21st of May 2021 until the beginning of July 2021 in the exhibition Please offer your seat to those in need in the gallery FRANZ JOSEFS KAI 3. They can be seen, sat on and bought. The proceeds of the auction will go to the non-profit Ute- Bock Foundation, which has been supporting refugees in Austria with great commitment since 2002.


Concept and project Management
Christoph Wimmer-Ruelland

Curators
Georg Adam, Selin Göksu, Catherine Hu, Lisa Leitgeb, Benjamin Nagy, Liza Sočan

Concept and design
Selin Göksu, Catherine Hu

Texts
Jana Diewald, Pauline van Gemmern

Studio photography
Georg Adam, Christoph Wimmer-Ruelland
Werkstätte Digitale Fotografie, Universität für angewandte Kunst Wien

Exhibition photography
Lea Sonderegger

 

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Barbara Hammer
WOMEN I LOVE

Opening: 04. 03. 2021, 6 p.m.
Exhibition: 05.03 - 16.05. 2021
Franz Josefs Kai 3, A-1010 Vienna

till May 2, open only by appointment
May 3 - May 16
open daily:  noon - 6 pm

Contact: fiona.liewehr@chello.at
+43 680 50 62 133

Curator: Fiona Liewehr                    
Exhibition design & graphics: Toledo i Dertschei

Barbara Jean Hammer (*1939 in Hollywood, Los Angeles † 2019 in Manhattan, New York City) is considered a pioneer of queer and feminist cinema and was one of the first filmmakers explicitly dedicated to making lesbian realities visible. In experimental as well as documentary films, photographs, drawings, collages and performances, the artist dealt with the breaking up of prevailing gender roles, lesbian identity and sexuality. Hammer's work illuminated taboo subjects such as aging, illness, and death. The artist confronted challenges to personal and political identities and deconstructed narratives and structures that repress images of women. She formally pushed the medium of film to its limits in the spirit of the Expanded Cinema of the 1960s and 1970s, seeking a fusion of film, painting, sound, and text in optically printed films and the direct involvement of the audience in performances.

With experimental films such as Sisters! (1973), Dyketactics (1974), Multiple Orgasms (1976), Sappho (1978), and Double Strength (1978), she established a queer feminist cinema at a time when the subject matter had largely been left to the pornographic imagination of male artists and filmmakers. Traveling throughout the United States, Africa, and Europe, she collected ideas of women and homosexual experiences through photographs and films. The mostly black and white photographs show shared moments on film sets, private and public situations, and interpersonal atmospheres of friends. Hammer's photographic gaze is never voyeuristic but conveys a self-determined, tender closeness that reinforces the protagonists' intimate naturalness.

In her feature-length documentaries Nitrate Kisses (1992), Tender Fictions (1995) and History Lessons (2000), Barbara Hammer posed questions about the cultural and socio-political historical construction of queerness and its community. She processed autobiographical aging and health issues, such as her diagnosis of ovarian cancer, in A Horse is not a Methaphor (2008). By approaching fundamental feelings such as love and death and trying to involve her audience directly, she also wanted to motivate them to think and act critically and socio-politically.

This retrospective exhibition, the first of its kind in Austria, focuses on the content and significance of her visual interweaving of films, photographs, drawings, collages and performances. The exhibition develops an image of Hammer as a committed activist for the equality of all genders and an advocate for human rights. In films, photographs as well as interviews, the exhibition combines autobiographical material and artistic work that is groundbreaking for many contemporary artists.

Women I love is produced in collaboration and with the help of the estate of Barbara Hammer and her widow, human rights lawyer Florrie R. Burke.

Barbara Jean Hammer (* May 15, 1939 in Los Angeles - † March 16, 2019 in New York).

Feminist filmmaker and pioneer of queer cinema, Barbara Hammer made over 90 moving image works as well as performances, installations, photographs, collages and drawings.
She has had film retrospectives at Jeu de Palme (Paris), Museum of Modern Art (New York), Tate Modern (London), National Gallery of Art (Washington, DC), Kunsthall (Oslo, Norway), Toronto Film Festival, and Pink Life Queer Festival (Ankara and Istanbul, Turkey). Her work has been included in the 1985, 1989, and 1993 Whitney Biennials and is in the permanent collections of the Australian Center for the Moving Image, the Museum of Modern Art (New York), the Centre Georges Pompidou, and other institutions. She is the author of Hammer! Making Movies Out of Sex and Life (2010). The artistbook Truant: Photographs, 1970 – 1979 was published by Capricious Publishing in 2017.


Links
Estate Barbara Hammer
https://companygallery.us/artists/estate-of-barbara-hammer/
https://kow-berlin.com/artists/barbara-hammer

Website of the artist

Foto Wien

Salon für Kunstbuch

Barbara Hammer, Put a Lesbian in The White House, performance postcard (January 1980) Oakland, California, Photo: Fran Tonelli.
all images: © Estate Barbara Hammer, courtesy: KOW, Berlin